Melodic Chromaticism

Chords, scales, harmony, melody, etc.
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Having discussed chromatic harmony, I thought it might be a good idea to consider chromaticism in melodic composition aswell.

Mozart would be a fine place to begin. His music is predominantly diatonic, yet he often uses chromatic apoggiatura's, passing notes etc.

Yet even this wouldnt class his music as chromatic, as the intervals are still mostly diatonic. When I talk about melodic chromaticism, Im thinking the stuff that began to appear during the romantic era. Stuff like Rimski Korsakov's 'Flight of the Bumblebee', Chopin's Etude Op10 No2 etc.

I think this style is really interesting, as it focuses much more on the 'contour' of the melodic line, rather then with the individual intervals. Iv composed a little phrase to show you the kind of thing I mean. The harmony is fairly chromatic but the melody even more so:

http://download.yousendit.com/7A13CA226247628C

This style of music is very applicable to kid's cartoon I think. The semiquaver chromatic melodies always make me think of little ants scurrying along!

Id be interested to hear what you guys think of this style, and more importantly, how you could apply it to your music.

For instance, I often thought you could make some wicked metal guitar solo's with this kind of thing. Makes me want to get my Ibanez and fish out my Satrina technique book, lol. Well, almost... :lol:

TB

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If anyone wants an awesome, easily recognisable melody in chromatic, think 'Carmen'.

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You mean towards the end?

I know the main theme, but I must confess, I am not a big fan of opera. I will have a mooch through my CD's and see if I can find the bit you mean. Im sure there is something near the end.

Do you have a sample by any chance?

TB

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tee boy wrote: Id be interested to hear what you guys think of this style, and more importantly, how you could apply it to your music.

TB
Love the bit you composed, and it sure leaves me wanting to know more about melodic chromaticism.

Yet I'd like to hear you using it in a less idiosyncratic way, take some distance from its cartoonish function. I'd be curious to hear something that would mix some sense of "spooky beauty with a magical twist at the end" (lol). And if you give some concrete facts about this chromatic technique, I'll join in and back you up with my own version of the "spooky" assignment.

EDIT : oh and what do you use for your sounds ?

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Mate, absolutely!

The example I did was beyond cliche, but that purely to demonstrate the point. I would LOVE to try something a little more modern and experimental.

Will have a blast at something later on.

The sounds were from EWQLSO Gold. I got it while it was special a few months ago. For a couple of hundred quid, you do get some very usable sounds. Its perfect for sketching out basic orchestral ideas. Obviously its not going to take the place of a large professional library (consisting of many titles), but its good, I cant grumble.

Regarding the technique...

Here is a variation on that original theme, but with the majority of the chromaticism removed. Here you can see that it is not far removed from a mainly diatonic melody:

http://download.yousendit.com/5631F09956EBB2A7

And that pretty much sums up my method for this style of composition - write a diatonic melody with a regular rhythm, then fill in the gaps and transform it into a chromatic contour.

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Here is simpler example, with both the chromatic and diatonic versions in series. Hopefully you'll be able to see what Iv done - writing a simple diatonic melody, then linking the notes with an constant run of chromatic passing tones.

http://download.yousendit.com/72D284FE1FD4F40C

Im going to hunt through some stuff and see if I can find some inspiration for this new one. I like what you say, about it being slower and kind of sppoky and mystical.

TB

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tee boy wrote:Here is a variation on that original theme, but with the majority of the chromaticism removed. Here you can see that it is not far removed from a mainly diatonic melody:

http://download.yousendit.com/5631F09956EBB2A7

And that pretty much sums up my method for this style of composition - write a diatonic melody with a regular rhythm, then fill in the gaps and transform it into a chromatic contour.
Ah ah, that might explain why I didn't recognize the melody ! But I get the point and seems a logical way to start composing in a chromatic fashion. I guess you then spice up your diatonic harmony to suit/enhance the revamped melody.

I should add too that it's great having you as a music teacher. The examples are well chosen and the things you discuss are exactly those I'm interested in.

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I think one song of this style was obligatory in almost every SNES rpg :D

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larm wrote:I think one song of this style was obligatory in almost every SNES rpg :D
Lol, absolutely!

Talking of SNES's, I found myself whistling the Mario World theme the other day... no shit :help:

TB

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cheul wrote:
tee boy wrote:Here is a variation on that original theme, but with the majority of the chromaticism removed. Here you can see that it is not far removed from a mainly diatonic melody:

http://download.yousendit.com/5631F09956EBB2A7

And that pretty much sums up my method for this style of composition - write a diatonic melody with a regular rhythm, then fill in the gaps and transform it into a chromatic contour.
Ah ah, that might explain why I didn't recognize the melody ! But I get the point and seems a logical way to start composing in a chromatic fashion. I guess you then spice up your diatonic harmony to suit/enhance the revamped melody.

I should add too that it's great having you as a music teacher. The examples are well chosen and the things you discuss are exactly those I'm interested in.

Well thats very kind of you to say Cheul, and very well received given that I am starting a teaching practice as we speak!

Ofcourse, its impossible to say how others compose this type of music, but I find that if I begin with diatonic melody, that the contour of the chromatic 'stream' seems to skirt around the boundries of the chords nicely. If I dont start this way, then the melody can end up sounding very abstrakt and removement from the accompaniment.

TB

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Here are a couple of other examples. The first is from Chopin's Etude Op25 No10. This is a very famous passage, with chromatic runs in double octaves. The second example is completely different, from Liszt's Feux Follet. In this one, the chromatics are imbedded into the right hand figure.

http://www.yousendit.com/transfer.php?a ... 5558B2A86C

http://download.yousendit.com/F3DED8391318098A

TB

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In Liszt's example we encounter again the playful character I find.

One suggestion though : could you come up with a naming system for your files (like a prefix that would hint people to what is the main focus) ? I still know by memory what I'm supposed to pay attention to, but my theory folder is growing exponentially. I know I can rename the files myself, but it's for the greater good of the members following your posts.

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Yeah, the Feux Follet is playful. But then again, its does get pretty mental at points too... well, its Liszt after all!

Hmmm, yeah, I'll try to put notes on my examples as you requested. I didnt realise Id be posting so many, lol.

TB

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For a truly chromatic piece you should check out Ligeti's Coloana Infinita.

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Oh god, but that stuff is like pantonal / atonal. They say that the concept of atonality had been developing for many years, until Schoenberg came up with the system.

When I talk of chromaticism, Im talking within tonality.

TB

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